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Note 17, page 502, line 11.
The “Rio verde." “Rio verde, rio verde," the popular Spanish romance, known to the English reader in Percy's translation.
“Gentle river, gentle river,
Note 18, page 503, line 9.
Into the sounding waves ! De Humboldt, in describing the burial of a young Asturian at sea, mentions the entreaty of the officiating priest, that the body, which had been brought upon deck during the night, might not be committed to the waves until after sunrise, in order to pay it the last rites according to the usage of the Romish Church.
Note 19, page 503, line 34.
Note 20, page 505, line 4. Where our frail bridge hath quiver'd 'midst the storm. The bridges over inany deep chasms amongst the Andes are pendulous, and formed only of the fibres of equinoctial plants. Theis tremulous motion has afforded a striking image to one of the stanzas in Gertrude of Wyoming.
" Anon some wilder portraiture he draws,
And then his play
Note 22, page 505, line 14.
From the mysterious rocks the sunrise-music borne De Humboldt speaks of these rocks on the shores of the Oronoco. Travellers have heard from time to time subterraneous sounds proceed from them at sunrise, resembling those of an organ. He believes in the existence of this niysterious music, although not fortu. nate enough to have heard it himself; and thinks that it may be produced by currents of air issuing through the crevices.
Note 23, page 505, line 21.
On melancholy waves. The same distinguished traveller frequently alludes to the extreme stillness of the air in the equatorial regions of the new continent, and particularly on the thickly wooded shores of the Oronoco. " In this neighborhood," he says," no breath of wind ever agitates the foliage." CRITICAL ANNOTATIONS.
“ THE FOREST SANCTUARY.'
“Mrs. Hemans may be considered as the representative of a new school of poetry, or to speak more precisely, her poetry discovers characteristics of the highest kind, which belong almost exclusively to that of latter times, and have been the result of the gradual ad vancement, and especially the inoral progress of mankind. It is only when man, under the influence of true religion, feels himself connected with whatever is infinite, that his affections and powers are fully developed. The poetry of an immortal being inust be of a ditterent character from that of an earthly being. But, in recurring to the classic poets of antiquity, we find that in their conceptions the element of religious faith was wanting. Their mythology was to them no object of sober belief; and, had it been so, was adapted not to produce but to annihilate devotion. They had no thought of regarding the universe as created, animated, and ruled, by God's all-powerful and omniscent goodness.”—PROFESSOR Norton, in Christian Examiner.
“We will now say a few words of The Forest Sanctuary; but it so abounds with beauty, is so highly finished, and animated by so generous a spirit of moral heroisin, that we can do no justice to our views of it in the narrow space which our limits allow is. A Spanish Protestant flies from persecution at home to religious liberty in America. He has inbibed the spirit of our own fathers, and his mental struggles are described in verses, with which the descendants of the pilgrims must know how to sympathize. We dare not enter on an analysis. From one scene at sea, in the second part, we will make a few extracts. The exile is attended by his wife and child; but his wife remains true to the faith of her fathers.
"Ora pro nobis, Mater! what a spell
Was in those notes," &c. “But we must cease inaking extracts, for we could not transfer all that is beautiful in the poem without transferring the whole."North American Review for April 1827.
"If taste and elegance be titles to enduring fame, we mighi venture securely to promise that rich boon to the author before us; who adds to those great merits a tenderness and loftiness of feeling, and an ethereal purity of sentiment, which could only enanate from the soul of a woman. She must beware of becoming too voluminous; and must not venture again on any thing so long as The Forest Sanctuary. But if the next generation inherits our taste for short poems, we are persuaded it will not readily allow her to be forgotten. For we do not hesitate to say, that she is, beyond all comparison, the most touching and accomplished writer of occasional verses that our literature has yet to baast of."-LORD JEFFREY, in Edinburgh Review, October 1829.
LAYS OF MANY LANDS.
The following pieces may so far be considered a series, as each is intended to be commemorative of some national recollection, popu.ar custom, or tradition. The idea was suggested by Herder's “ Stim. men der Volker in Liedern ;" the execution is, however, different, as the poems in his collection are chiefly translations.
MOORISH BRIDAL SONG.
(“It is a custom among the Moors, that a female who dies unmar
ried is clothed for interment in wedding apparel, and the bridal-
Music and voices, from the marble halls,
A song of joy, a bridal-song came swelling,
And thus it flow'd; yet something in the lay
“ The bride comes forth! her tears no more are falling
Now must her dark eye shine on other flowers,
Pour the rich odours round! “ We haste! the chosen and the lovely bringing; Love still goes with her from her place of birth; Deep, silent joy within her soul is springing, Though in her glance the light no more is mirth! Her beauty leaves us in its rosy years; Her sisters weep—but she hath done with tears !
Now may the timbrel sound !" Know'st thou for whom they sang the bridal numbers ?One, whose rich tresses were to wave no more! One, whose pale cheek soft winds, nor gentle slumbers, Nor Love's own sigh, to rose-tints might restore !
Her graceful ringlets o’er a bier were spread. Weep for the young, the beautiful,—the dead!
THE BIRD'S RELEASE.
The Indians of Bengal and of the coast of Malabar bring cages filled
with birds to the graves of their friends, over which they set the birds at liberty. This custom is alluded to in the description of Virginia's funeral.--See Paul and Virginia.)
Go forth, for she is gone!
She hath left her dwelling lone!
Her voice hath pass’d away!
Where we may not trace its way.
Go forth, and like her be free!
And what is our grief to thee?
Is it aught even to her we mourn?
Or float, on the light wind borne ?
We know not-but she is gone!
She hath left her dwelling lone!
When the waves at sunset shine,
But we shall not know 'tis thine!
Even so with the loved one flown!
Around us--but all unknown.
Go forth, we have loosed thy chain!
But thou will not be lured again.
Even thus may the summer pour
THE SWORD OF THE TOMB.
A NORTHERN LEGEND.
(The idea of this ballad is taken from a scene in Starkother, a tra
gedy by the Danish poet Ochlenschlager. The sepulchral fire here alluded to, and supposed to guard the ashes of deceased heroes, is frequently mentioned in the Northern Sagas. Severe sufferings to the departed spirit, were supposed by the Scandinavian inythologists to be the consequence of any profanation of the sepulchre.See (CHLENSCHLAGER'S Plays.] • Voice of the gifted elder time! Voice of the charın and the Runic rhyme! Speak! from the shades and the depths disclose How Sigurd may vanquish his mortal foes;
Voice of the buried past!
Then the torrents of the North,
From the dark sepulchrai hill.
In the shadow of the night.
Then died the solemn lay,
Through the wild and stormy skies.
By the fires of Northern pine.
Gave warning, with voice and sign.